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Home , Indian classical dance, Nritya

UNIT 1 . INDIAN CLASSICAL

. Structure

1.1 Introduction

1.2 Objectives

1.3 Understanding and Appreciating Indian Classical

1.4 Technique in General of as Derived from the Natyashastra

1.5 The four Abhinayas

1.6 Classifications of Dance

1.7 The Two Main Components - Form and Content

1.8 Emergence of Regional Dance Styles

1.9 The Classical Dances of

1.10 Self Assessment Question

1.1 INTRODUCTION

In the previous lessons you were introduced to in general. You are now able to appreciate performing arts when you have the chance of witnessing any performances. Let us go a little further from witnessing a presentation of performing art to actually presenting it yourself. Here there is two fold enjoyment; not only will your audience enjoy your performance, but more importantly, you would enjoy the act of creating an art by your body.

We have already examined the importance of understanding and appreciating our performing arts. This is very essential for human wellbeing. The phenomenon of enjoyment can be centred on others - that is someone else performs and you watch and enjoy the performance. This means that you experience the flow of Rasa. (the experience of joy or delight arising out of witnessing an artistic presentation); this makes you a rasika (one who experiences Rasa). But this phenomenon of enjoyment can also be centred on yourself, that is, you yourself perform an art and derive enjoyment.

These observations apply to the art of dance also.

You must 'iave witnessed many dance performances. You must have wondered at the expertise of the dancer and the beauty of the dance. This dance performance could be of what we call "classical" or "shaastreeya" dance or it could be a folk dance.

As a student of a classical dance sty le, thus, you should know of the elements that distinguish a classical dance form from a folk dance form. You would have noticed that both are accompanied by - vocal and instrumental, both have set rhythmic patterns, both have physical movements which are stylised and away from the day to day movements that you perform in your daily life. Yet both are different. Simply stated: classical dance is premeditated, is highly systematized with its own rules for performance and, most importantly.requires a long period of study under a . Whereas folk dance is a simple performance usually performed by a group [0:various social occasions. A child born in a particular society very automatically learns its folk dances merely by observing the performance and gradually participating in it. Almost everyone of a particular group of people would know their folk dances. Same is not the case with 5 Understanding Indian classical dances. Thus, in this lesson you are going to be introduced to the nature of a Classical Dances classical dance, its components, its origin, its history of development, etc. You will be led to the understanding classical dance and appreciating it.

1.2 OBJECTIVES

After studying this unit you should be able to :

• get acquainted with the Sanskrit text - N atyashastra attributed to the legendary sage Muni;

• enumerate the facets of the technique in general applicable to all the classical dance styles derived from the Natyashastra;

• understand the emergence of contemporary classical dance styles.

1.3 UNDERSTANDING AND APPRECIATING INDIAN CLASSICAL DANCES The first thing that strikes a beholder about classical Indian dances is the importance of rhythm (taala) and raaga in its formation. In fact, one cannot imagine an Indian classical dance without these two elements. Another very significant element is the representation of human moods and sentiments by the way of facial expressions by the dancer. Another very important facet of Indian classical dance is the use of hand gestures (hastas to use the correct technical term) for interpreting the words of the song being sung by the vocalist or, as it happens sometimes by the dancer himself. There is a veriable dictionary of the use of hastas prescribed in the Natyashastra and the subsequent texts. This facet of Indian classical dance puts it apart from the other dances of the world as well as the folk dances of India neither having this unique system. One can almost converse by the way of these hastas - one can call them the alphabets of dance. You will also appreciate the total control that a dancer has over the entire body. Though Indian dance is, as you will learn, made up primarily of the movements of various limbs of the body including those situated in the face, it is the superb harmoniously balanced movements that create the totality of the dance. And the most ennobling element of Indian classical dance is its spiritual basis. No one can envisage an Indian classical dance without a spiritual base. You will also be introduced to the fact that though in the past 400 to 500 years different regions of our country have developed and practised their own special dance styles, almost all have common elements that distinguish them as classical dance idioms.

1.4 TECHNIQUE IN GENERAL OF INDIAN CLASSICAL DANCE AS DERIVED FROM THE NATYASHASTRA The technique of classical dancing was, in all probability, codified by the legendary. sage Bharata in his magnum opus- "The Natyashastra" (The Science of Dramaturgy ) in about the 5th century B.C. This technique basically is applicable to the art of - naatya - as per Bharata. But he very clearly includes dancing and music as inherent and basic components of naatya. In fact naatya of the ancient times is unthinkable without dance and music. Thus, Bharata has not dealt with dancing as a separate and individualistic art.

In the later centuries, it is evident that dancing as an art came into its own and became more specialised. Bharata had initially dealt with two arts:- 6 natya theatre and Indian Classical Dance nritta dance consisting of body movements.

But in the centuries after that a further classification in the art of dance took place as : nritta : Pure non-representative dance made up of beautiful movements oflirnbs of the body. This type of dance does not convey any specific meaning nor does it project any emotions; it is purely for the purpose of beautification; by its very nature nritta is bound by the concept of rhythm, taala. : Representative dance which is designed to convey meanings by the accompanying emotions. Very naturally in this type of dance the face plays a very important role to convey various emotions. The meaning of a song that is being danced is translated by "hastas" or "hand gestures" into the language of dance.

1.5 THE FOURABHINAYAS

Abhinaya is etymologically derived from Sanskrit terms- 'abhi' , meaning 'towards' and 'ni' meaning 'take' . It literally means 'taking towards' which can be understood as 'taking the performance towards te audience'.

According to N atyashastra, the performance of Indian naatya, in its totality, was presented by the means of variegated components like angika gestures and other bodily movements. vachika spoken words aharya costumes and make-up sattvika depiction of mental or psychological states. i.e. the depiction of Rasas. These four components are called the four abhinayas.

Let us consider these components in detail : 1. Sattvika Abhinaya :

This relates to the expression of natural emotions by a performer in response to the demands of a situation. Let us have a look and understand the major terms associated with this abhinaya. a. Rasa: It is the aesthetic experience which one derives while enjoying an artistic presentation. It is essentially a product of the dramatic art and is not to be found in the creation of nature. It deals with the creation ofhurnan sentiments in the spectator or the aesthete, when he becomes one with the focus of the dramatic presentation. Bharata has listed eight basic sentiments - rasa - at the most generalized or universalised level. These eight sentiments - the ashta rasa-arise out of eight universalised fundamental feelings or instincts or emotions or mental states - Bharata calls them bhaava-s or sthaayi bhaava-s (basic mental states) that predominate every human soul. They are, so to say, born with the man himself. This basic mental state is the central and most important phase. This bhaava which is present in the actor/dancer's mind, when represented on the stage by the prescribed technique, brings Rasa into existence.

7 Understanding Indian Bharata lists the following eight sthaayi bhaavas corresponding the eight rasa-s. Classical Dances sthaayi bhaava rasa

1 Rati (love) Shringaara (erotic)

ii Haasa (laughter) Haasya (comic)

iii Shoka (sorrow) Karuna (pathetic)

IV. Krodha (anger) Roudra (furious)

v. Utsaaha (heroism). Vira (heroic)

VI. Bhaya(fear) Bhayaanaka (terrible)

VD. Jugupsaa (disgust) Bibhatsa (odious)

viii. Vismaya (wonder) Adbhuta (marvellous)

b. Sthaayi bhaava-s :These are the basic or persistent mental states as they are the source of corrinuity of a particular state of mind and its actions. An actor / dancer's actions arise from a definite state of mind. They are the results of that particular state of mind. It is only when these actions are properly performed that this long lasting state of mind is realised and appreciated by the spector. It is due to this sthaayi bhaava that the spectator understands the correct effect that the drama or the dance piece wishes to create. The sthaayi bhaava also helps in smooth flow of actions.

c. Vyabhichaari bhaavas: These are the transient or non-permanent emotions. They either spring from or assist the basic mental state. They make the basic mental state very clear to the spectator. Bharata lists 33 vyabhichaari bhaavas.

d. Vibhaavas: These are the determining situation or circumstances which form or give rise to the sthaayi bhaava. Without the vibhaava there cannot be sthaayi bhaava.

e. Anubhaavas: These are the resulting physical movements which mise due to the establishment of the sthaayi bhaava which is assisted by its vyabhichaari bhaavas. These resulting movements pertain to the entire human body. Thus we may say that the sattvika abhinaya is brought forth by angika abhinaya.

f. Sattvika bhaavas: Apart from the sthaayi and the vyabhichaari bhaavas Bharata lists a third category which he terms as sattvika bhaavas. Bharata lists eight such bhaavas which can be described as involuntary reaction in an actor / dancer whose mind (sattva) is completely concentrated on the given artistic situation. These bhaavas cannot be commanded to appear at will. They are natural physical reactions which accompany a dominant state of mind. Thus, in a tragic situation tears would very naturally flow; or in a happy or joyous situation there would be thrill (tremours) or in everyday language there would be goose bumps on the body.

The sattvika bhaavas are :

1. Sveda Perspiration

2. Stambha Paralysis or getting stunned

3. Ashra Tears

8 4. Vaivarnya Change of colour. 5. -saad Change in voice Indian Classical Dance 6. Pralaya Fainting

7. Romaancha Horripilation or thrill

8. Kampana Trembling

2. Angika abhinaya :

Angika abhinaya relates to body movement and the expression of meanings through different actions of the Iimbs; ~ In dance this abhinaya is the most important factor: Bharata has divided human body very scientifically into two major parts: a) Angas - major limbs - six b) Upaangas - minor limbs - eight. a) Angas:

i) Shira head

ii) Rasta hands

iii) Vaksha chest

iv) Paarshva sides

v) Trika or kati waist or hips

vi)Paada legs b) Upaangas: These are situated entirely in face (inclusive of the neck)

i) Taaraa eye balls

ii)Puta eyelids

iii)Bhru eye brows

iv)Naasaa nose

v) Ganda cheeks

vi) Adhara lower lip

vii) Chibuka chin

viii) Grivaa neck

To this list, later scholars have added the following: o Bhujamoola shoulders 10 Hanoo iii) Dashana teeth iv) Jihvaa tongue

9 Understanding Indian v) Mukha the face itself Classical Dances vi) Gulpha ankles

vii) Anguli fmgers and toes.

Other later texts have added one more limb of the body.

c) Pratyangas :These are the supportive limbs of the human body:

i) Skandha shoulder blades

ii)Baahoo arms

iii) Prishtha back ~" iv) Udara ". belly

v) Ooroo thigh

vi) Janghaa shanks

vii) Manibandha : wrists

viii) Koorpara : elbows

ix)Jaanoo calf

x) Grivaa neck.

Bharata further specifies and classifies the movements of the angas, upaangas and the later scholars specify those of the pratyangas. It is also laid down how and where and for what purpose each of these very large number of movements are to be utilised.

3. Vachika abhinaya :

In dance this abhinaya deals with the songs to be danced (saahitya) which are usually sung by a singer who does not dance and the (musical notes) of the raaga being employed - also by the singer. It would also include the rythernic patterns receited by the dance teacher (guru or nattuvanar) which is accompanied either by the cymbals (taala-s) he plays or the percussion instrument (the drum). In an expanded manner it would also include music created by all the other members of the orchestra (vaadya vrinda) like the veenaa player, the venu (flute) player and the violin player and other instruments that are in vogue.

4. Aharya abhinaya :

This abhinaya deals with the use of costumes,jewellery, facial make-up etc. Bharata has prescribed definite rules and specifications for jewellery, dresses etc to be worn by different types of characters. But it must be remembered that dancing is full of physical movements which are very vivacious and expressi ve of feelings. Thus, in dance the costumes should be such that they permit unhampered movements. It is also to be remembered that Bharata himself permits different provinces of the country to employ the types of dressing and jewellery worn according to their own traditions.

Bharata is said to have compiled the Natyashastra some time before the 2nd century B.c. Some scholars give 51h century B.c. as his period. In the millennia that followed Bharata, the concept of dance being an integral part of naatya underwent gradual 10 charges. By the 11 th or 12th centuriesA.D. dance emerged as a very independent and Indian Classical Dance well established performing art, no more functioning under the shadow of naatya.

1.6 CLASSIFICATION OF DANCE

In the later centuries when the technique of dance emerges as a distinct form, it becomes apparent that dance utilizes drama as one of its aspects in the same manner as naatya or drama utilises dance. Similarly, in the later years dance comes to be further classified into taandava (vigorous) and Zaasya or sukumaara (gentle) types. Again, the Natyashastra does use these words but not in the manner of this firm classification. The 4th chapter of the N atyashastra dealing exclusively with dancing calls it taandava probably as emanating from Tandu who was instructed in dance by Lord & Zaasya which is mentioned as laasyaanga in the chapter 20 dealing with the Dasharupakas (ten types of dramas). But the later writers very definitely give the two fold division into naatya, nritya and nritta on one hand and taandava and laasya on the other hand. But whatever the era and its classification, the components of the technique remain the same.

1.7 THE TWO MAIN COMPONENTS: FORM AND CONTENT

In the Indian context dancing has two components.

Dance _____ 1 _

Form -which is tangible Content - which is i.e. which is seen. intangible i.e. which is not seen.

In Indian dance, both the components are necessary to convey to the viewer that dance is taking place. There is form, that which can be seen but unless there is some sort of mental motivation, itjust cannot be sustained. Similarly there can be most overpowering mental or emotional motivation - the content - but unless there is its manifestation by way of some physical action, it cannot be felt or realised by the viewer.

Thus the "Form" of dancing would be the 3 abhinayas - angika, vachika, and aharya. The "content" is the 4th one - saattvika.

In the "Form" we would include nritta but in nritya there are both - "Form" and "Content". These two logically consist of the entire human body and its different movements.

1.8 EMERGENCE OF REGIONAL DANCE STYLES ;./ .. There is a freedom granted to different regions of the country to develop their own dance practices as per their own traditions regarding the mode of dressing, speech, customs, habits, legends, agriculture, animal husbandry and other pursuits of livelihood. These vary from region to region in India which is actually a subcontinent. Even in Bharata's times there were diverse practices present in different parts of the country.

As time passed these diverse practises ~\..o""""PP more and more well established and eventually by the 16th Century A.D. there emerged very well defined dance practices; but all these dance styles followed the dicta laid down by Bharata and later scholars in principle.

11 Understanding Indian These diverse practices were regional and further developed in their regions only. Classical Dances Thus, today these dance styles are flourishing in their respective regions though abiding with the ancient rules. Thus, though they are different, they have a good deal in common and the entire practice is enjoyed and venerated all over the world simply as Indian Classical Dance.

1.9 THE CLASSICAL DANCES OF INDIA \ Today eight such regional practices are recognised as classical dance styles: 1. from

2. from

3. from central and western India

4. Manipuri from

5. from

6. from Odissa

7. Mohiniattam from Kerala

8. Sattiriya from

1.10 SELF ASSESSMENT QUESTIONS 1. Fill in the blank:spaces in the following statements using the words given below:

(Rasa, human, folk, rasika, wellbeing, vocal, instrumental, classical).

a) When you enjoy a dance performance there is a ------which you expenence as a ------

b) Enjoying an artistic presentation is very essential for ----

c) There are two broad categories of dances that are practiced in India --- and----

d) -----and ----music are an indispensible parts of classical dances.

2. State briefly the basic classifications of dance in the Indian traditions . • 3. a) How many abhinayas are there?

b) Enumerate them and give a very brief explanation for each-of them.

c) How are they applicable in classical dances?

Answers

1. a) Rasa, rasika

b) human, wellbeing

c) classical, folk

12 d) vocal,instrumental Indian Classical Dance e) guru, observation.

2. Indian dance is primarily divided into nritta (pure dance) and nritya (expressi ve dance). The next classification is taandava (vigorous suitable for male presentation) and laasya (soft suitable for female presentation). At the most general level dance is ( divided socially into classical (systematised and codified) and folk (free andjoyous).

3. a) There are four abhi,nayas.

b) Angika is to do with the movements of the different limbs of the human body. Vachika is to do with spoken words. Aharva dressing and make-up. Sattvika is to do with emotions.

c) Angika is used both in nritta as well as nritya since physical movements are essential for both. Vachika is represented by the songs that accompany the dance and which are accompanied by instrumental music. Aharya is used for stylised costumes and facial make-up. Saattvika is the base for interpretation of the emotions.

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